Gandte igM

mouth, which blows out the flame. The candle is then placed back on to the right hand, which forthwith hands it to a spectator to remove and examine.

The performer then returns to the table, picks up the glass tube in the left hand, and, advancing to the spectator, takes the candle from him and drops it to the bottom of the tube, which is

holding the tube by the foot in the left hand and making mysterious passes with the right, stands about the centre uf the stage. Slow music is played and the candle rises slowly in the tube till it is about half-way out, and then sinks down again. Once more, to the accompaniment of suitable passes throughout, it rises. This time, when about an inch of it is above the top of the tube, the performer takes a match in his right hand from the box on the table, and makes a " striking " movement in the air with it, whereupon it lights. He then lights the candle again, blows out the match and throws it down—if possible near one of the audience, who, if he examines it, will find it an ordinary match. Continuing the passes, the performer causes the lighted candle to rise until it is more than three-quarters of its length out of the tube. He then, taking the candle in his right hand, removes it completely from the tube, blows it out, and, advancing to the audience, immediately hands both tube and candle for examination.

" Making a Candle Light "—continued from page 69

The following preparations are necessary. One end of a fine piece of black glace cotton, sixteen inches long, is tied to a small black safety pin. To the other is tied a black wooden bead about half the size of a pea. This bead is impaled by means of a hole through it, on a black pin which is inserted point upwards in the edge of the waistcoat, just below the bottom button on the left side. The safety pin is fastened behind the flap of the flies, about half-way down.

Another black pin, not too long, is pushed up to its head into a minute round piece of cork. The point of the pin is held for a moment with a pair of pliers, in a gas jet, until fairly warm ; it is then pushed half-way into the side of the candle, just above its centre of gravity. As the wax cools it grips the pin. The candle is then stood in the candlestick, pin at the back. To the rear of the candle stands the hydrometer tube. My tube is just over 8 inches high over all, and 15/1 Gin. internal diameter. The candle is 5fin. long and 13/ 16in. in diameter. It had to be very slightly pared away at the base, as the tube is slightly narrower inside at the bottom, owing to the extra thickness of the glass there. It is important that the candle should be able to slide freely up and down the tube, without being gripped at the bottom when dropped in.

The side of a box of safety matches is bent round into a little tube like a cigar-band, and the edges glued together securely, striking surface outermost. This is stood upright on the table behind the box of matches.

To perform : having lit the candle, make a few passes over it with the right hand, which is then lowered behind and touching the candle. The fingers are then closed so that the cork head of the pin is gripped between the second and third fingers. The candle is then raised out of the stick and shown suspended to the hand. It is then transferred to the left hand with a semirevolution similar to the changeover-palm with a billiard ball, so that the pin is brought between the left second and third fingers which grip it, and the right hand is then removed and waved slowly in the air, its emptiness being apparent. The left hand again transfers the candle to the right, during which it is blown out, but this time it lays almost flat on the right-hand fingers, and the left retains its grip on the pin and withdraws it. Without giving the spectators time to realise that the candle is not now suspended as before.

the performer advances to them and requests some one to take the candle straight from his fingers. As soon as this is done, the performer returns to the table, and picks up the tube in the left hand, which drops the pin on the table in the act of doing so. Meanwhile, the right hand finds the black bead and withdraws it from the pin, holding it between the first and second fingers. These fingers are then brought over the open end of the tube, which is thus held for a moment in a horizontal position, the left hand holding the bottom end.

Now, return the tube to a perpendicular position, bring it close to the body and release the bead, which slides down to the bottom while the performer advances to the audience and takes back the candle from the spectator. He immediately allows the candle to slide down to the bottom of the tube. Owing to the small space between the side of the candle and the inside of the tube, the bead is unable to pass between them, so that, by gradually moving the tube away from the body with the left hand the bead is pulled up and lifts the candle with it. A reverse movement naturally lowers it.

When the candle is out of the tube about an inch on the second occasion, the right hand takes a match from the box, which should have been left open and lying just in front of the matchbox band ; simultaneously the third finger tip is pushed down into the band which is then brought away on the end of it. The first finger and thumb hold the match so that its head is pressed against the band, and the second finger is doubled behind it. By extending the second finger sharply the match is rubbed against the band and strikes. This is covered by a " striking " movement made in the air. The candle is then lit and raised as far as possible. The right hand then lifts the candle clear of the tube, it is blown out and both arms are extended while advancing towards the audience. This movement draws the bead completely out of the tube, and it falls against the trousers, where it is quite invisible. If, however, there is any fear of it showing, the third and fourth fingers of the right hand may clip the thread just above the bead when lifting the candle out of the tube, and retain it while the left hand gives first the tube and then the candle for examination. Slow, soft music, during the suspension of the candle to the fingers, and the subsequent lévitation is more effective than patter.

Magic

It was with deep regret that we heard of the deaths of two who were well known in Magic. The first was that of Gordon Powell. Although actively retired from luagic and the company of magicians, up to the time of his death he took a

{Round very keen interest in the affairs of the Magic Circle. He was the sixth member to join that Society, and was a member of the first Committee. The other, who by his writings, was well known to conjurers all over this island, was Bob

Edmanson, who died ¿0011 after his arrival in Switzerland. Both of these men were personalities, and those who knew them will be the poorer for their passing.

We feel sure that our readers will like this issue and our thanks go to all those who were able :o help us on several small points. In particular we should like to mention the names of Dr. Nicholls Harvey, Jimmy Findlay, Herbert Mil-ion, Arthur Ivey and Dr. Bowen, all of whom were able to confirm certain essential details regarding the " Triple Stab " effect. It is a difficult matter, (as has well been proved) unless notes are taken at the time of performance, for the observer (excepting the fact that he has a photographic mind) to relate, in proper sequence, what he saw at that time ; and so it came about, that eight of those who had witnessed the effect on more than one occasion, sat round a table trying to focus the point at which Dexter first showed the daggers. Only by check and crosscheck did we get the correct result.

From a N.A.M.S. review of Tan Hock Chuan's book, one of the reviewers (evidently a pupil of Colonnade College) finds that the eleven effects all outstanding, but considers the price of •">/- too high I ,

Our good friend, Norman Cliffe, writes as follows : " One idea you may like to pass on to your readers. The ' Biro ' minor has come into common use, and costs a little under five shillings. It comes in four distinct colours. By purchasing one each of red, green and blue, and exchanging the refills so that the red goes in the green case, the green in the blue, and the blue in the red, I have an ultra modern method of using the one ahead method for a triple prediction. The pens are displayed, in the appropriate order, with some prominence on the table by using a stand

"Three White-Handled Daggers "—continued from page 67 tator with this process, i.e., holding the bandage whilst the ends are tied, carries out two operations ; the first is to drop the pack on to the rable, and the second is to ensure that a good downward glimpse can be obtained under the bandaged handkerchief. " And now this one," and with his right h.and he goes to the pocket again bringing out the black bandage. The bandaging finished, the performer turns front once more and requests the assistant to take back the pack into the audience and have the cards returned; he is told to shuffle the cards, bring them back and spread them face down over the table so that all the backs are exposed. The assistant is to tell the performer when he has completed all these tasks. When he does so the performer requests that the daggers be handed to him ; he takes them with the right hand and passes them to the left. (The assistant should still be standing on the performer's right.) Quickly the performer, with a downward glance under the blindfold, notes the three stranger cards.

comprising a block of wood with three holes bored therein to hold the pens upright."

Maurice Fogel rang us the other evening and told us that he will soon have a publication marketed in which there will be some sidelights on the Helliwell matter. This should be of more than passing interest.

We hope that none of our readers missed Bruce Elliott's effect " Fate " in " Phoenix." Even though they may not fancy the effect outlined, they will, we feel sure, be more than grateful for the remarkably fine force that he has originated.

As we go to Press we have news of the Magic Circle " Festival of Magic " bill at the Scala in October. Certainties are Douglas Francis, Jack le Dair, Claud Chandler, Tommy Cooper, George Grimmond and Ali Bey. Possibles, Dominique and A. N. Other. David Nixon will compere and John Young will as usual supply the prologue.

We have just received Devano's Jumbo Rising Cards, and whilst we consider that when these packs are used a card effect ceases to be a card effect in the true sense of the word, we feel that we must congratulate our friend on the production of a remarkably simple but efficient piece of mechanism. Whilst the principle is that used in the original Devano pack, the extra space that the craftsman has to play with has resulted in a precision piece of work that was hardly possible with the original. Our only criticism (and Devano is well aware of this), is the quality of the Jumbo cards that he "has been forced to use. Whilst these bear a " bicycle " back, they are certainly not a product of the American Playing Card Company. The David Devant number which we mentioned some time back will probably take shape in September.

He stands back slightly from the table, as quickly and dramatically as possible, the right hand takes one dagger at a time and brings each point down on the selected cards. The first person is asked to tell the audience the card that he chose. The name being given, the performer notes from the markings, its position among the three stabbed cards. Repeating aloud the name of the card, he quickly lifts the appropriate dagger showing the first selector's card impaled on its point. This procedure is repeated with the second and third cards.

In many of his performances, certainly at the Magic Circle and magical societies, Dexter would, after taking the applause, ask (remember the blindfold had not been removed) the assistant to pick up a number of cards from the table, square them, and hand them to him (Dexter) face down. Keeping the cards thus, and without any possibility of any sighting or hand mirror attachment, he would then read the cards from the bottom, removing each card as it was named. This effect will be the subject of a future article.

Audience-Tested Tricks and Routines!

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Kaplan's THE FINE ART OF MAGIC. 80 outstanding tricks and routines, a matchless series of lessons. 352 pages . . 37/6 Baker's MAGICAL WAYS AND MEANS, 64 feats that helped to make A1 Baker famous, 147 pages 17/6

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GEORGE ARMSTRONG'S PREMONITION AN AMAZING MENTAL CARD ROUTINE

A spectator names a card. He is asked to take a pack of cards from the table, remove them from case and count them, face up, on to the table. He counts only 51 cards. The very card he is thinking of is not in the pack. Without the slightest hesitation the performer removes the missing card from his pocket.

Sure-fire; No chance of failure; Magician does not touch cards at any time; No fake cards; No force; Any card can be named; No skill; You can perform this five minutes after reading the neatly printed instructions. Booklet of instructions—no cards, use your own.

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